Unfortunately I haven't found any comprehensive lists on Letterboxd (or really anywhere else) on the films of the Hong Kong New Wave so I've compiled my own list.

As with my other lists, I try to be comprehensive but I exclude the films that fall outside the boundaries of the movement I am making a list on. However, with regards to the HK New Wave it is a lot more difficult than with my Taiwanese New Wave list because they had a set endpoint, so below I will try to explain my selection.

- I have decided to include only film directors that can strictly be considered part of the movement. This means I'll exclude films from periphery directors such as John Woo. I have also decided to exclude the precursors to the New Wave like Tang Shu Shuen, Po Chih-leong, and Josephine Siao.
- The HK New Wave begins in the late 1970s.
- The ending date is admittedly somewhat arbitrarily set at 1989. There are flaws with this choice such as: the fact that the Second Wave has already commenced at this point, the fact that a director like Ann Hui would continue to make New Wavish films, and the fact that there is no set end date. However, I am sticking with this date because I think the 80's represents this surge in artistic HK cinema that moves towards film festival works in the late 80's and early 90's. Another reason is that Patrick Tam stopped making films in 1989 (although he came back over a decade later) and I think that after this point the only New Wave director consistently making New Wave films is Ann Hui.
- Tsui Hark's New Wave films are limited to his first three films after which he turned to making more commercial films. I cannot stress enough the importance of Hark's cinematic contribution after these films, but they are simply not relevant to this list that is focused on the New Wave.
- The directors whose work I chose to focus on are a result of a bit of research I did on the topic with multiple sources. I don't think there are any one-off New Wave films.
- Please feel free to make any suggestions that fit this criteria for the list.

Unfortunately, the best source on the HK New Wave I found is now restricted to me so I can't read much on it at the moment so I'll only be able to share a few words on it.

The Hong Kong New Wave was a movement of HK filmmakers who were trained in international film schools. After graduating, these filmmakers worked in television which gave them a platform to innovate without having to work their way up through the studio system. At the time, television was a fairly free zone so it was used to train directors and potential stars with relative creative freedom before getting them into the film industry.

Essentially the Hong Kong New Wave was a result of, and gave birth to two achievements in Hong Kong cinema. The first is the beginning of the dominance of Cantonese language cinema. While many Cantonese films were produced in Hong Kong they were limited to lower budget films that lacked the quality of the Mandarin productions. One precursor to this cinema is the work of Patrick Lung-Kong who made socially conscious films of artistic merit in the Cantonese language. He was an immense influence on the New Wave for his commitment to making serious films made for Cantonese speaking audiences in their own language. His influence is most notable in the work of Patrick Tam (whose film Love Massacre was produced by Lung Kong) and Tsui Hark (who would cast him in a few films and produced a "remake" of his film with A Better Tomorrow).

The second achievement was technological innovation that involved sync sound, on-location shooting, and a greater degree of production value exhibited through cinematography. Within Hong Kong, the New Wavers were best known not for their artistic merit or personal storytelling but for their technical innovation and mastery. It's in this moment when Tsui Hark begins to dabble with special effects, Patrick Tam collaborates with inventive Australian cinematographer Christopher Doyle, and all of the filmmakers show Hong Kong "as it is" with their raw approach to on-location filming.

These two achievements were in service of a highly personal yet familiar form of storytelling. All of the filmmakers began working in genres such as thrillers, martial arts films, and crime films yet they all found idiosyncratic ways to push beyond genre trappings. These paved the way for more personal dramas made by these directors. Perhaps the first to achieve this ideal was Allen Fong whose personal drama films made it to international film festivals and was probably the most important representative of the New Wave at the moment (although Ann Hui would prove to have the lengthiest, most successful career as an art filmmaker).

For many Hong Kong film critics, the New Wave represents a promise of a great art cinema like that which was birthed by the Taiwanese New Wave that ultimately didn't succeed. Instead of producing a prestigious cinema, it paved the way for a new form of commercial cinema that ironically was led by one of the movement's members, Tsui Hark.

Yet the New Wave also paved the way for the Second Wave of filmmakers who were even more in tune with the tastes of international arthouse audiences and would ultimately be more successful in the arthouse circuit. The most notable of these filmmakers, Wong Kar-wai was essentially trained in an environment where the Hong Kong New Wave influenced film industry was looking for scripts that fit the idiosyncratic style of genre films that the New Wavers created, and Wong was able to supply them before becoming a director. Wong's most notable predecessor is Patrick Tam who worked with Wong's most prominent collaborators before: William Chang and Christopher Doyle. He also contributed to the editing of Days Of Being Wild.

Chen Kunhou, the director of the most successful Taiwanese New Wave film, Growing Up said that he found that what he, Hou Hsiao-hsien, and Edward Yang ultimately had more value than what was being done in Hong Kong's New Wave. However, I find that the Hong Kong New Wave is an equally important development due to the fact that it gave birth to two distinct, rich cinematic traditions. On the one hand, the New Wave revived the individual artistry that was brought on by the socially conscious filmmakers of the 60's and artistic films made by Tang Shu Shuen in order to put Hong Kong on the map in terms of international arthouse cinema. And on the other hand, the New Wave extended the life of the commercial film industry by supplying it with new technical flourishes and new genres to explore that would cause HK's commercial cinema to become a regional power to rival Hollywood until the mid-90's. Yet in both cases, what the New Wave did was make the Cantonese language cinema the dominant force in Hong Kong cinema, further reinforcing the colonial state's distinct identity that distinguished it from the other Chinas.